5896 Results
Level of archival description:
Project
Project
Reference number:
AP180.S1.1989.PR01
Description:
This project series documents the Piazza San Nazaro, a public square in Milan, Italy. This project was realized. Riva worked on this project from 1989-1993 in collaboration with Giacomo Borella, Paolo Froncillo, Giovanni Drugman, and Franscesca Riva. Umberto Riva also designed the outdoor furnishings of the piazza, including the street lights and the base of a statue. The project was commissioned by the Metropolitana Milanese and was shown in the exhibition "Umberto Riva, sistemazioni urbane" in 1993, at the Pinacoteca civica Franscesco Podesti in Ancona. The project series contains studies and design development drawings, including a site plan, elevations, sections, plans, and details for the street lamps, as well as a small description for the project.
AP180.S1.1989.PR01
Description:
This project series documents the Piazza San Nazaro, a public square in Milan, Italy. This project was realized. Riva worked on this project from 1989-1993 in collaboration with Giacomo Borella, Paolo Froncillo, Giovanni Drugman, and Franscesca Riva. Umberto Riva also designed the outdoor furnishings of the piazza, including the street lights and the base of a statue. The project was commissioned by the Metropolitana Milanese and was shown in the exhibition "Umberto Riva, sistemazioni urbane" in 1993, at the Pinacoteca civica Franscesco Podesti in Ancona. The project series contains studies and design development drawings, including a site plan, elevations, sections, plans, and details for the street lamps, as well as a small description for the project.
People:
Date:
1991-1993
1991-1993
Title:
Piazza San Nazaro, Milan, Italy (1989-1993)
Actions:
AP180.S1.1989.PR01
Description:
This project series documents the Piazza San Nazaro, a public square in Milan, Italy. This project was realized. Riva worked on this project from 1989-1993 in collaboration with Giacomo Borella, Paolo Froncillo, Giovanni Drugman, and Franscesca Riva. Umberto Riva also designed the outdoor furnishings of the piazza, including the street lights and the base of a statue. The project was commissioned by the Metropolitana Milanese and was shown in the exhibition "Umberto Riva, sistemazioni urbane" in 1993, at the Pinacoteca civica Franscesco Podesti in Ancona. The project series contains studies and design development drawings, including a site plan, elevations, sections, plans, and details for the street lamps, as well as a small description for the project.
Piazza San Nazaro, Milan, Italy (1989-1993)
Actions:
AP180.S1.1989.PR01
Description:
This project series documents the Piazza San Nazaro, a public square in Milan, Italy. This project was realized. Riva worked on this project from 1989-1993 in collaboration with Giacomo Borella, Paolo Froncillo, Giovanni Drugman, and Franscesca Riva. Umberto Riva also designed the outdoor furnishings of the piazza, including the street lights and the base of a statue. The project was commissioned by the Metropolitana Milanese and was shown in the exhibition "Umberto Riva, sistemazioni urbane" in 1993, at the Pinacoteca civica Franscesco Podesti in Ancona. The project series contains studies and design development drawings, including a site plan, elevations, sections, plans, and details for the street lamps, as well as a small description for the project.
Level of archival description:
Project
Project
Date:
1991-1993
1991-1993
People:
Level of archival description:
Sub-series
Sub-series
Title:
Opera Houses
Opera Houses
Reference number:
CI001.S2.D3
Description:
Charles Rohault de Fleury's sustained involvement with the design of opera houses began with his appointment in 1846 as official architect of the existing Salle Le Pelletier, home to the *Paris Opera, and continued until an open competition was called in 1860 (Charles Garnier won this competition). During this period Rohault de Fleury submitted numerous proposals to replace theprovisional Salle Le Pelletier with a structure more appropriate to the grandeur and importance of France's national opera company. The CCA collection contains four projects related to his work for the Paris opera: two early projects (1846 and 1847) and one later one (1859) for a newopera house, and a portfolio of lithographs and drawings related to alterations and repairs to Salle Le Pelletier (1850-1854). The collection also includes Charles' earliest theatre project, a comprehensive plan for an opera house and surrounding infrastructure for the Theatre Royal Italien opera company (1838-1840), and an album containing drawings and prints of antique and contemporary theatres (1839-1854?). Charles' first project was for the Theatre Royal Italien opera company whose previous home, the Salle Favart, had burned down on the night of January 14 1838. The CCA collection contains an album of presentation drawings for a new theatre located on rue de la Paix with boutiques in the adjacent 'passages' (DR1974:0002:019:001-023). A second album consists of site plans including proposed 'maisons à loyers' (apartment buildings) and documents relating to the cost estimates and rental income for the entire project (DR1974:0002:036:001-016). The architectural style and interior arrangement of the theatre is heavily indebted to Francois Debret's Salle Le Pelletier. Charles' originality lies more in his conception of the social and economic role of the theatre in relation and integration, to its surrounding urban fabric. An explanation of the entire Theatre Royal Italien project, and Charles' role as architect in it, is found in two proposal letters (located in the Avery Library, Columbia University, NY) written by the entrepreneur Eugene Lecomte to the Minister of the Interior, Comte Duchatel, on May 15 and October 31 1839 (1). Charles' album of drawings at the CCA for the theatre and some of the cost and rental estimates are probably presentation copies directly related to the first letter, and most likely submitted to the Minister of the Interior. Charles' project was never executed, and the Italian opera company eventualy found a permanent home in the existing Salle Ventadour (1841). However, the inclusive nature of the Théâtre Royal Italien proposal, with its stress on urban development and contextuality, continued to play a seminal role in his later Paris Opera projects. Upon replacing Francois Debret as architect of Salle Le Pelletier in 1846, Charles proposed nine possible locations (site plans) for a new opera house for the Paris Opera (*Academie Royale de Musique) and, in the following year (1847) prepared a portfolio of drawings for the actual structure with an accompanying seven-page manuscript describing the project. Although executed in successive years, the site plans and 1847 drawings are conceptually related. Both components were undertaken in response to offical interest in a public competition that was never implemented (2)(3). The CCA has two sets of the nine site plans proposed in 1846 (DR1974:0002:036:001-016), one containing transfer lithographed site plans with a written analysis and cost estimate for each of the proposed locations, and the other with only the site plans (similar sets are located in the 'Archives Nationales' in France). They indicate that Charles, (heavily influenced by his Théâtre Royal Italien project) preferred the Rue de la Paix location (siteplan #3) for the new opera house. Although site plan number six, Boulevard des Capucines, was not favoured at this date, it is highly prophetic as it was the location officially chosen in 1860 for the new opera house. Apparently unique to the CCA collection is the 1847 manuscript and portfolio of drawings for the proposed opera house (DR1974:0002:036:001-016). The manuscript is both an indepth review of the requirements for a national opera house and a guide to his portfolio of drawings. Charles' conception and design continued to be strongly influenced by Debret's Salle Lepelletier, as well as his own Théâtre Italien project, and various antique and contemporary opera houses and theatres. Many of the French and Italian sources mentioned in the manuscript are collected in an album (DR1974:0002:010:001-048) as references for his own designs (4). As official architect of Salle Le pelletier, Charles was also responsible for repairs, restorations, and alterations to the existing structure. The drawings and transfer lithographs in the CCA collection (DR1974:0002:036:001-016) are primarily dated 1854, and relate to documented repair and restoration projects undertaken during this period (5)(6). The CCA collection has the presentation drawings and lithographs for the later 1859 project (DR1974:0002:027:001-027) for the Paris opera (*Theatre Imperiale de l'opera) that were sent to Achille Fould, the Minister of State. This project is probably a counterpart to a similiar one that he submitted to the Prefect of the Seine, Baron Haussmann, in the same year (7). Site plans show the opera house on an irregular polygonal site facing Boulevard des Capucines. The placement of the 'maisons à loyers' on the rear of the site reflects Charles' continued emphasis on integrating his opera projects into the surrounding urban context. In 1859, it appeared that Charles was favoured to build the new opera house. But late in the following year, a public competition was called in which Charles Garnier emerged as the victor. Although Charles did not build the final structure, his numerous projects, as exemplified in the CCA collection, were of prime importance in determining the location, configuration, and plan of the Place de l'Opera (8). * The 'Paris Opera' was France's national opera, and thus its name changed numerous times throughout its history according to altering perceptions of its role in French culture and/or changes in political regimes. For reasons of clarity, the national opera will be referred to as the Paris Opera. The names indicated in brackets with a star refer to the proper name of the opera company at the date of the project. (1) Eugene Le Comte, "Projet de Salle rue de la Paix, pour le Théâtre Royal Italien: Lettres à Monsieur le Ministre de l'Intérieur, en date des 15 mai et 31octobre 1839" (Paris: P. Dupont, 1839). (2) Christopher Curtis Mead, "Charles Garnier's Paris Opera and the Renaissance of Classicism in Nineteenth century French Architecture", 3 vols. (PhD thesis; Philadelphia: University of Pennsylvania, 1986), p. 234 and p. 956, fn. 30. (3) Monika Steinhauser, "Die Architektur des Pariser Oper" (Munich: Prestel Verlag, 1969), p. 45, fns. 143 and 144. (4) Barry Bergdoll, "Charles Rohault de Fleury: Part Three: Theatres and the Opera house", 'CCA Research Report', n.d., p. 3. (5) Larousse XIXth Century, s.v. "Rohault de Fleury, Charles". (6) Mead, p. 238. (7) Oeuvres de C. Rohault de Fleury, architecte" (Paris: Librarie centrale d'architecture, 1884).. (8) Macmillan, s.v. "Rohault de Fleury Familly".
CI001.S2.D3
Description:
Charles Rohault de Fleury's sustained involvement with the design of opera houses began with his appointment in 1846 as official architect of the existing Salle Le Pelletier, home to the *Paris Opera, and continued until an open competition was called in 1860 (Charles Garnier won this competition). During this period Rohault de Fleury submitted numerous proposals to replace theprovisional Salle Le Pelletier with a structure more appropriate to the grandeur and importance of France's national opera company. The CCA collection contains four projects related to his work for the Paris opera: two early projects (1846 and 1847) and one later one (1859) for a newopera house, and a portfolio of lithographs and drawings related to alterations and repairs to Salle Le Pelletier (1850-1854). The collection also includes Charles' earliest theatre project, a comprehensive plan for an opera house and surrounding infrastructure for the Theatre Royal Italien opera company (1838-1840), and an album containing drawings and prints of antique and contemporary theatres (1839-1854?). Charles' first project was for the Theatre Royal Italien opera company whose previous home, the Salle Favart, had burned down on the night of January 14 1838. The CCA collection contains an album of presentation drawings for a new theatre located on rue de la Paix with boutiques in the adjacent 'passages' (DR1974:0002:019:001-023). A second album consists of site plans including proposed 'maisons à loyers' (apartment buildings) and documents relating to the cost estimates and rental income for the entire project (DR1974:0002:036:001-016). The architectural style and interior arrangement of the theatre is heavily indebted to Francois Debret's Salle Le Pelletier. Charles' originality lies more in his conception of the social and economic role of the theatre in relation and integration, to its surrounding urban fabric. An explanation of the entire Theatre Royal Italien project, and Charles' role as architect in it, is found in two proposal letters (located in the Avery Library, Columbia University, NY) written by the entrepreneur Eugene Lecomte to the Minister of the Interior, Comte Duchatel, on May 15 and October 31 1839 (1). Charles' album of drawings at the CCA for the theatre and some of the cost and rental estimates are probably presentation copies directly related to the first letter, and most likely submitted to the Minister of the Interior. Charles' project was never executed, and the Italian opera company eventualy found a permanent home in the existing Salle Ventadour (1841). However, the inclusive nature of the Théâtre Royal Italien proposal, with its stress on urban development and contextuality, continued to play a seminal role in his later Paris Opera projects. Upon replacing Francois Debret as architect of Salle Le Pelletier in 1846, Charles proposed nine possible locations (site plans) for a new opera house for the Paris Opera (*Academie Royale de Musique) and, in the following year (1847) prepared a portfolio of drawings for the actual structure with an accompanying seven-page manuscript describing the project. Although executed in successive years, the site plans and 1847 drawings are conceptually related. Both components were undertaken in response to offical interest in a public competition that was never implemented (2)(3). The CCA has two sets of the nine site plans proposed in 1846 (DR1974:0002:036:001-016), one containing transfer lithographed site plans with a written analysis and cost estimate for each of the proposed locations, and the other with only the site plans (similar sets are located in the 'Archives Nationales' in France). They indicate that Charles, (heavily influenced by his Théâtre Royal Italien project) preferred the Rue de la Paix location (siteplan #3) for the new opera house. Although site plan number six, Boulevard des Capucines, was not favoured at this date, it is highly prophetic as it was the location officially chosen in 1860 for the new opera house. Apparently unique to the CCA collection is the 1847 manuscript and portfolio of drawings for the proposed opera house (DR1974:0002:036:001-016). The manuscript is both an indepth review of the requirements for a national opera house and a guide to his portfolio of drawings. Charles' conception and design continued to be strongly influenced by Debret's Salle Lepelletier, as well as his own Théâtre Italien project, and various antique and contemporary opera houses and theatres. Many of the French and Italian sources mentioned in the manuscript are collected in an album (DR1974:0002:010:001-048) as references for his own designs (4). As official architect of Salle Le pelletier, Charles was also responsible for repairs, restorations, and alterations to the existing structure. The drawings and transfer lithographs in the CCA collection (DR1974:0002:036:001-016) are primarily dated 1854, and relate to documented repair and restoration projects undertaken during this period (5)(6). The CCA collection has the presentation drawings and lithographs for the later 1859 project (DR1974:0002:027:001-027) for the Paris opera (*Theatre Imperiale de l'opera) that were sent to Achille Fould, the Minister of State. This project is probably a counterpart to a similiar one that he submitted to the Prefect of the Seine, Baron Haussmann, in the same year (7). Site plans show the opera house on an irregular polygonal site facing Boulevard des Capucines. The placement of the 'maisons à loyers' on the rear of the site reflects Charles' continued emphasis on integrating his opera projects into the surrounding urban context. In 1859, it appeared that Charles was favoured to build the new opera house. But late in the following year, a public competition was called in which Charles Garnier emerged as the victor. Although Charles did not build the final structure, his numerous projects, as exemplified in the CCA collection, were of prime importance in determining the location, configuration, and plan of the Place de l'Opera (8). * The 'Paris Opera' was France's national opera, and thus its name changed numerous times throughout its history according to altering perceptions of its role in French culture and/or changes in political regimes. For reasons of clarity, the national opera will be referred to as the Paris Opera. The names indicated in brackets with a star refer to the proper name of the opera company at the date of the project. (1) Eugene Le Comte, "Projet de Salle rue de la Paix, pour le Théâtre Royal Italien: Lettres à Monsieur le Ministre de l'Intérieur, en date des 15 mai et 31octobre 1839" (Paris: P. Dupont, 1839). (2) Christopher Curtis Mead, "Charles Garnier's Paris Opera and the Renaissance of Classicism in Nineteenth century French Architecture", 3 vols. (PhD thesis; Philadelphia: University of Pennsylvania, 1986), p. 234 and p. 956, fn. 30. (3) Monika Steinhauser, "Die Architektur des Pariser Oper" (Munich: Prestel Verlag, 1969), p. 45, fns. 143 and 144. (4) Barry Bergdoll, "Charles Rohault de Fleury: Part Three: Theatres and the Opera house", 'CCA Research Report', n.d., p. 3. (5) Larousse XIXth Century, s.v. "Rohault de Fleury, Charles". (6) Mead, p. 238. (7) Oeuvres de C. Rohault de Fleury, architecte" (Paris: Librarie centrale d'architecture, 1884).. (8) Macmillan, s.v. "Rohault de Fleury Familly".
People:
Date:
1717-1868
1717-1868
Title:
Opera Houses
CI001.S2.D3
Description:
Charles Rohault de Fleury's sustained involvement with the design of opera houses began with his appointment in 1846 as official architect of the existing Salle Le Pelletier, home to the *Paris Opera, and continued until an open competition was called in 1860 (Charles Garnier won this competition). During this period Rohault de Fleury submitted numerous proposals to replace theprovisional Salle Le Pelletier with a structure more appropriate to the grandeur and importance of France's national opera company. The CCA collection contains four projects related to his work for the Paris opera: two early projects (1846 and 1847) and one later one (1859) for a newopera house, and a portfolio of lithographs and drawings related to alterations and repairs to Salle Le Pelletier (1850-1854). The collection also includes Charles' earliest theatre project, a comprehensive plan for an opera house and surrounding infrastructure for the Theatre Royal Italien opera company (1838-1840), and an album containing drawings and prints of antique and contemporary theatres (1839-1854?). Charles' first project was for the Theatre Royal Italien opera company whose previous home, the Salle Favart, had burned down on the night of January 14 1838. The CCA collection contains an album of presentation drawings for a new theatre located on rue de la Paix with boutiques in the adjacent 'passages' (DR1974:0002:019:001-023). A second album consists of site plans including proposed 'maisons à loyers' (apartment buildings) and documents relating to the cost estimates and rental income for the entire project (DR1974:0002:036:001-016). The architectural style and interior arrangement of the theatre is heavily indebted to Francois Debret's Salle Le Pelletier. Charles' originality lies more in his conception of the social and economic role of the theatre in relation and integration, to its surrounding urban fabric. An explanation of the entire Theatre Royal Italien project, and Charles' role as architect in it, is found in two proposal letters (located in the Avery Library, Columbia University, NY) written by the entrepreneur Eugene Lecomte to the Minister of the Interior, Comte Duchatel, on May 15 and October 31 1839 (1). Charles' album of drawings at the CCA for the theatre and some of the cost and rental estimates are probably presentation copies directly related to the first letter, and most likely submitted to the Minister of the Interior. Charles' project was never executed, and the Italian opera company eventualy found a permanent home in the existing Salle Ventadour (1841). However, the inclusive nature of the Théâtre Royal Italien proposal, with its stress on urban development and contextuality, continued to play a seminal role in his later Paris Opera projects. Upon replacing Francois Debret as architect of Salle Le Pelletier in 1846, Charles proposed nine possible locations (site plans) for a new opera house for the Paris Opera (*Academie Royale de Musique) and, in the following year (1847) prepared a portfolio of drawings for the actual structure with an accompanying seven-page manuscript describing the project. Although executed in successive years, the site plans and 1847 drawings are conceptually related. Both components were undertaken in response to offical interest in a public competition that was never implemented (2)(3). The CCA has two sets of the nine site plans proposed in 1846 (DR1974:0002:036:001-016), one containing transfer lithographed site plans with a written analysis and cost estimate for each of the proposed locations, and the other with only the site plans (similar sets are located in the 'Archives Nationales' in France). They indicate that Charles, (heavily influenced by his Théâtre Royal Italien project) preferred the Rue de la Paix location (siteplan #3) for the new opera house. Although site plan number six, Boulevard des Capucines, was not favoured at this date, it is highly prophetic as it was the location officially chosen in 1860 for the new opera house. Apparently unique to the CCA collection is the 1847 manuscript and portfolio of drawings for the proposed opera house (DR1974:0002:036:001-016). The manuscript is both an indepth review of the requirements for a national opera house and a guide to his portfolio of drawings. Charles' conception and design continued to be strongly influenced by Debret's Salle Lepelletier, as well as his own Théâtre Italien project, and various antique and contemporary opera houses and theatres. Many of the French and Italian sources mentioned in the manuscript are collected in an album (DR1974:0002:010:001-048) as references for his own designs (4). As official architect of Salle Le pelletier, Charles was also responsible for repairs, restorations, and alterations to the existing structure. The drawings and transfer lithographs in the CCA collection (DR1974:0002:036:001-016) are primarily dated 1854, and relate to documented repair and restoration projects undertaken during this period (5)(6). The CCA collection has the presentation drawings and lithographs for the later 1859 project (DR1974:0002:027:001-027) for the Paris opera (*Theatre Imperiale de l'opera) that were sent to Achille Fould, the Minister of State. This project is probably a counterpart to a similiar one that he submitted to the Prefect of the Seine, Baron Haussmann, in the same year (7). Site plans show the opera house on an irregular polygonal site facing Boulevard des Capucines. The placement of the 'maisons à loyers' on the rear of the site reflects Charles' continued emphasis on integrating his opera projects into the surrounding urban context. In 1859, it appeared that Charles was favoured to build the new opera house. But late in the following year, a public competition was called in which Charles Garnier emerged as the victor. Although Charles did not build the final structure, his numerous projects, as exemplified in the CCA collection, were of prime importance in determining the location, configuration, and plan of the Place de l'Opera (8). * The 'Paris Opera' was France's national opera, and thus its name changed numerous times throughout its history according to altering perceptions of its role in French culture and/or changes in political regimes. For reasons of clarity, the national opera will be referred to as the Paris Opera. The names indicated in brackets with a star refer to the proper name of the opera company at the date of the project. (1) Eugene Le Comte, "Projet de Salle rue de la Paix, pour le Théâtre Royal Italien: Lettres à Monsieur le Ministre de l'Intérieur, en date des 15 mai et 31octobre 1839" (Paris: P. Dupont, 1839). (2) Christopher Curtis Mead, "Charles Garnier's Paris Opera and the Renaissance of Classicism in Nineteenth century French Architecture", 3 vols. (PhD thesis; Philadelphia: University of Pennsylvania, 1986), p. 234 and p. 956, fn. 30. (3) Monika Steinhauser, "Die Architektur des Pariser Oper" (Munich: Prestel Verlag, 1969), p. 45, fns. 143 and 144. (4) Barry Bergdoll, "Charles Rohault de Fleury: Part Three: Theatres and the Opera house", 'CCA Research Report', n.d., p. 3. (5) Larousse XIXth Century, s.v. "Rohault de Fleury, Charles". (6) Mead, p. 238. (7) Oeuvres de C. Rohault de Fleury, architecte" (Paris: Librarie centrale d'architecture, 1884).. (8) Macmillan, s.v. "Rohault de Fleury Familly".
Opera Houses
CI001.S2.D3
Description:
Charles Rohault de Fleury's sustained involvement with the design of opera houses began with his appointment in 1846 as official architect of the existing Salle Le Pelletier, home to the *Paris Opera, and continued until an open competition was called in 1860 (Charles Garnier won this competition). During this period Rohault de Fleury submitted numerous proposals to replace theprovisional Salle Le Pelletier with a structure more appropriate to the grandeur and importance of France's national opera company. The CCA collection contains four projects related to his work for the Paris opera: two early projects (1846 and 1847) and one later one (1859) for a newopera house, and a portfolio of lithographs and drawings related to alterations and repairs to Salle Le Pelletier (1850-1854). The collection also includes Charles' earliest theatre project, a comprehensive plan for an opera house and surrounding infrastructure for the Theatre Royal Italien opera company (1838-1840), and an album containing drawings and prints of antique and contemporary theatres (1839-1854?). Charles' first project was for the Theatre Royal Italien opera company whose previous home, the Salle Favart, had burned down on the night of January 14 1838. The CCA collection contains an album of presentation drawings for a new theatre located on rue de la Paix with boutiques in the adjacent 'passages' (DR1974:0002:019:001-023). A second album consists of site plans including proposed 'maisons à loyers' (apartment buildings) and documents relating to the cost estimates and rental income for the entire project (DR1974:0002:036:001-016). The architectural style and interior arrangement of the theatre is heavily indebted to Francois Debret's Salle Le Pelletier. Charles' originality lies more in his conception of the social and economic role of the theatre in relation and integration, to its surrounding urban fabric. An explanation of the entire Theatre Royal Italien project, and Charles' role as architect in it, is found in two proposal letters (located in the Avery Library, Columbia University, NY) written by the entrepreneur Eugene Lecomte to the Minister of the Interior, Comte Duchatel, on May 15 and October 31 1839 (1). Charles' album of drawings at the CCA for the theatre and some of the cost and rental estimates are probably presentation copies directly related to the first letter, and most likely submitted to the Minister of the Interior. Charles' project was never executed, and the Italian opera company eventualy found a permanent home in the existing Salle Ventadour (1841). However, the inclusive nature of the Théâtre Royal Italien proposal, with its stress on urban development and contextuality, continued to play a seminal role in his later Paris Opera projects. Upon replacing Francois Debret as architect of Salle Le Pelletier in 1846, Charles proposed nine possible locations (site plans) for a new opera house for the Paris Opera (*Academie Royale de Musique) and, in the following year (1847) prepared a portfolio of drawings for the actual structure with an accompanying seven-page manuscript describing the project. Although executed in successive years, the site plans and 1847 drawings are conceptually related. Both components were undertaken in response to offical interest in a public competition that was never implemented (2)(3). The CCA has two sets of the nine site plans proposed in 1846 (DR1974:0002:036:001-016), one containing transfer lithographed site plans with a written analysis and cost estimate for each of the proposed locations, and the other with only the site plans (similar sets are located in the 'Archives Nationales' in France). They indicate that Charles, (heavily influenced by his Théâtre Royal Italien project) preferred the Rue de la Paix location (siteplan #3) for the new opera house. Although site plan number six, Boulevard des Capucines, was not favoured at this date, it is highly prophetic as it was the location officially chosen in 1860 for the new opera house. Apparently unique to the CCA collection is the 1847 manuscript and portfolio of drawings for the proposed opera house (DR1974:0002:036:001-016). The manuscript is both an indepth review of the requirements for a national opera house and a guide to his portfolio of drawings. Charles' conception and design continued to be strongly influenced by Debret's Salle Lepelletier, as well as his own Théâtre Italien project, and various antique and contemporary opera houses and theatres. Many of the French and Italian sources mentioned in the manuscript are collected in an album (DR1974:0002:010:001-048) as references for his own designs (4). As official architect of Salle Le pelletier, Charles was also responsible for repairs, restorations, and alterations to the existing structure. The drawings and transfer lithographs in the CCA collection (DR1974:0002:036:001-016) are primarily dated 1854, and relate to documented repair and restoration projects undertaken during this period (5)(6). The CCA collection has the presentation drawings and lithographs for the later 1859 project (DR1974:0002:027:001-027) for the Paris opera (*Theatre Imperiale de l'opera) that were sent to Achille Fould, the Minister of State. This project is probably a counterpart to a similiar one that he submitted to the Prefect of the Seine, Baron Haussmann, in the same year (7). Site plans show the opera house on an irregular polygonal site facing Boulevard des Capucines. The placement of the 'maisons à loyers' on the rear of the site reflects Charles' continued emphasis on integrating his opera projects into the surrounding urban context. In 1859, it appeared that Charles was favoured to build the new opera house. But late in the following year, a public competition was called in which Charles Garnier emerged as the victor. Although Charles did not build the final structure, his numerous projects, as exemplified in the CCA collection, were of prime importance in determining the location, configuration, and plan of the Place de l'Opera (8). * The 'Paris Opera' was France's national opera, and thus its name changed numerous times throughout its history according to altering perceptions of its role in French culture and/or changes in political regimes. For reasons of clarity, the national opera will be referred to as the Paris Opera. The names indicated in brackets with a star refer to the proper name of the opera company at the date of the project. (1) Eugene Le Comte, "Projet de Salle rue de la Paix, pour le Théâtre Royal Italien: Lettres à Monsieur le Ministre de l'Intérieur, en date des 15 mai et 31octobre 1839" (Paris: P. Dupont, 1839). (2) Christopher Curtis Mead, "Charles Garnier's Paris Opera and the Renaissance of Classicism in Nineteenth century French Architecture", 3 vols. (PhD thesis; Philadelphia: University of Pennsylvania, 1986), p. 234 and p. 956, fn. 30. (3) Monika Steinhauser, "Die Architektur des Pariser Oper" (Munich: Prestel Verlag, 1969), p. 45, fns. 143 and 144. (4) Barry Bergdoll, "Charles Rohault de Fleury: Part Three: Theatres and the Opera house", 'CCA Research Report', n.d., p. 3. (5) Larousse XIXth Century, s.v. "Rohault de Fleury, Charles". (6) Mead, p. 238. (7) Oeuvres de C. Rohault de Fleury, architecte" (Paris: Librarie centrale d'architecture, 1884).. (8) Macmillan, s.v. "Rohault de Fleury Familly".
Level of archival description:
File 3
File 3
Date:
1717-1868
1717-1868
People:
Form:
exhibitions
exhibitions
Description:
Alongside a growth in decentralized, experimental, and underground cinema at the end of the 1960s and in the early 1970s, many groups operating from inside the field of architecture such as Superstudio, Studio 9999, and Ant Farm explored the short film as a medium to expand architectural discourse, embed their projects with bold reflections and projections of society, and(...)
Alongside a growth in decentralized, experimental, and underground cinema at the end of the 1960s and in the early 1970s, many groups operating from inside the field of architecture such as Superstudio, Studio 9999, and Ant Farm explored the short film as a medium to expand architectural discourse, embed their projects with bold reflections and projections of society, and(...)
Location:
Octagonal gallery
Octagonal gallery
Date:
21 September 2018 to 19 May 2019
21 September 2018 to 19 May 2019
Title:
Scripts for a new world
Actions:
Description:
Alongside a growth in decentralized, experimental, and underground cinema at the end of the 1960s and in the early 1970s, many groups operating from inside the field of architecture such as Superstudio, Studio 9999, and Ant Farm explored the short film as a medium to expand architectural discourse, embed their projects with bold reflections and projections of society, and(...)
Scripts for a new world
Actions:
Description:
Alongside a growth in decentralized, experimental, and underground cinema at the end of the 1960s and in the early 1970s, many groups operating from inside the field of architecture such as Superstudio, Studio 9999, and Ant Farm explored the short film as a medium to expand architectural discourse, embed their projects with bold reflections and projections of society, and(...)
Form:
exhibitions
exhibitions
Date:
21 September 2018 to
19 May 2019
21 September 2018 to
19 May 2019
Location:
Octagonal gallery
Octagonal gallery
Form:
archives
Level of archival description:
Fonds
archives
Level of archival description:
Fonds
Title:
Pierre Jeanneret fonds
Pierre Jeanneret fonds
Reference number:
AP156
Synopsis:
Le Fonds Pierre Jeanneret documente la pratique professionnelle et la vie personnelle de l'architect Pierre Jeanneret de ses études et ses projets professionels en Europe à ses projets architecturaux à Chandigarh, en Inde. Les documents du Fonds consistent en des photographies, des dessins et des documents textuels relatifs à plus de 100 projets, principalement son travail pour le projet de la nouvelle ville de Chandigarh, en Inde, en 1951 à 1965. *** The Pierre Jeanneret fonds documents the professional practice and the personal life of architect Pierre Jeanneret from student and professional work in Europe to architectural projects in Chandigarh, India. The documents in the fonds consist of photographs, drawings and textual records relating to over 100 projects, predominantly his work for the project of the new city of Chandigarh, in India, in 1951 to 1965.
AP156
Synopsis:
Le Fonds Pierre Jeanneret documente la pratique professionnelle et la vie personnelle de l'architect Pierre Jeanneret de ses études et ses projets professionels en Europe à ses projets architecturaux à Chandigarh, en Inde. Les documents du Fonds consistent en des photographies, des dessins et des documents textuels relatifs à plus de 100 projets, principalement son travail pour le projet de la nouvelle ville de Chandigarh, en Inde, en 1951 à 1965. *** The Pierre Jeanneret fonds documents the professional practice and the personal life of architect Pierre Jeanneret from student and professional work in Europe to architectural projects in Chandigarh, India. The documents in the fonds consist of photographs, drawings and textual records relating to over 100 projects, predominantly his work for the project of the new city of Chandigarh, in India, in 1951 to 1965.
People:
Date:
1870s-2011
1870s-2011
Title:
Pierre Jeanneret fonds
Actions:
AP156
Synopsis:
Le Fonds Pierre Jeanneret documente la pratique professionnelle et la vie personnelle de l'architect Pierre Jeanneret de ses études et ses projets professionels en Europe à ses projets architecturaux à Chandigarh, en Inde. Les documents du Fonds consistent en des photographies, des dessins et des documents textuels relatifs à plus de 100 projets, principalement son travail pour le projet de la nouvelle ville de Chandigarh, en Inde, en 1951 à 1965. *** The Pierre Jeanneret fonds documents the professional practice and the personal life of architect Pierre Jeanneret from student and professional work in Europe to architectural projects in Chandigarh, India. The documents in the fonds consist of photographs, drawings and textual records relating to over 100 projects, predominantly his work for the project of the new city of Chandigarh, in India, in 1951 to 1965.
Pierre Jeanneret fonds
Actions:
AP156
Synopsis:
Le Fonds Pierre Jeanneret documente la pratique professionnelle et la vie personnelle de l'architect Pierre Jeanneret de ses études et ses projets professionels en Europe à ses projets architecturaux à Chandigarh, en Inde. Les documents du Fonds consistent en des photographies, des dessins et des documents textuels relatifs à plus de 100 projets, principalement son travail pour le projet de la nouvelle ville de Chandigarh, en Inde, en 1951 à 1965. *** The Pierre Jeanneret fonds documents the professional practice and the personal life of architect Pierre Jeanneret from student and professional work in Europe to architectural projects in Chandigarh, India. The documents in the fonds consist of photographs, drawings and textual records relating to over 100 projects, predominantly his work for the project of the new city of Chandigarh, in India, in 1951 to 1965.
Form:
archives
Level of archival description:
Fonds
archives
Level of archival description:
Fonds
Date:
1870s-2011
1870s-2011
People:
Form:
archives
Level of archival description:
Fonds
archives
Level of archival description:
Fonds
Reference number:
AP171
Synopsis:
This fonds documents the professional practice and activities of the Foreign Office Architects between 1989 and 2011, with a primary focus on their architectural projects. The documents in the fonds include drawings and plans, photographic materials, presentation panels, models, textual records, and digital files relating to 192 projects and international exhibitions . Additionally, the fonds includes material relating to publications, office activities, and research.
AP171
Synopsis:
This fonds documents the professional practice and activities of the Foreign Office Architects between 1989 and 2011, with a primary focus on their architectural projects. The documents in the fonds include drawings and plans, photographic materials, presentation panels, models, textual records, and digital files relating to 192 projects and international exhibitions . Additionally, the fonds includes material relating to publications, office activities, and research.
People:
Date:
circa 1983-2011
circa 1983-2011
Title:
Foreign Office Architects fonds
Actions:
AP171
Synopsis:
This fonds documents the professional practice and activities of the Foreign Office Architects between 1989 and 2011, with a primary focus on their architectural projects. The documents in the fonds include drawings and plans, photographic materials, presentation panels, models, textual records, and digital files relating to 192 projects and international exhibitions . Additionally, the fonds includes material relating to publications, office activities, and research.
Foreign Office Architects fonds
Actions:
AP171
Synopsis:
This fonds documents the professional practice and activities of the Foreign Office Architects between 1989 and 2011, with a primary focus on their architectural projects. The documents in the fonds include drawings and plans, photographic materials, presentation panels, models, textual records, and digital files relating to 192 projects and international exhibitions . Additionally, the fonds includes material relating to publications, office activities, and research.
Form:
archives
Level of archival description:
Fonds
archives
Level of archival description:
Fonds
Date:
circa 1983-2011
circa 1983-2011
People:
Form:
events
events
Description:
Legislating Architecture explores how architecture is shaped by law and other societal regulatory systems. The film, directed by Arno Brandlhuber and Christopher Roth, presents excerpts from conversations conducted with architects including Luigi Snozzi, Adam Caruso, Tom Emerson, and Christian Kerez. It is a point of departure for an issue of ARCH+ also entitled(...)
Legislating Architecture explores how architecture is shaped by law and other societal regulatory systems. The film, directed by Arno Brandlhuber and Christopher Roth, presents excerpts from conversations conducted with architects including Luigi Snozzi, Adam Caruso, Tom Emerson, and Christian Kerez. It is a point of departure for an issue of ARCH+ also entitled(...)
Date:
27 October 2016, 6pm
27 October 2016, 6pm
Title:
Legislating Architecture: Arno Brandlhuber and Christopher Roth
Actions:
Description:
Legislating Architecture explores how architecture is shaped by law and other societal regulatory systems. The film, directed by Arno Brandlhuber and Christopher Roth, presents excerpts from conversations conducted with architects including Luigi Snozzi, Adam Caruso, Tom Emerson, and Christian Kerez. It is a point of departure for an issue of ARCH+ also entitled(...)
Legislating Architecture: Arno Brandlhuber and Christopher Roth
Actions:
Description:
Legislating Architecture explores how architecture is shaped by law and other societal regulatory systems. The film, directed by Arno Brandlhuber and Christopher Roth, presents excerpts from conversations conducted with architects including Luigi Snozzi, Adam Caruso, Tom Emerson, and Christian Kerez. It is a point of departure for an issue of ARCH+ also entitled(...)
Form:
events
events
Date:
27 October 2016
6pm
27 October 2016
6pm
Form:
exhibitions
exhibitions
Description:
Learning from… Ruscha and Venturi Scott Brown, 1962–1977 examines the relationship between the seminal illustrated books by artist Edward Ruscha and architects Robert Venturi and Denise Scott Brown that deal with the architecture and urbanism of the everyday in Los Angeles and Las Vegas during the 1960s and 1970s. Ruscha’s Every Building on the Sunset Strip and Venturi(...)
Learning from… Ruscha and Venturi Scott Brown, 1962–1977 examines the relationship between the seminal illustrated books by artist Edward Ruscha and architects Robert Venturi and Denise Scott Brown that deal with the architecture and urbanism of the everyday in Los Angeles and Las Vegas during the 1960s and 1970s. Ruscha’s Every Building on the Sunset Strip and Venturi(...)
Location:
Octagonal gallery
Octagonal gallery
Date:
31 March 2004 to 30 May 2004
31 March 2004 to 30 May 2004
Title:
Learning from… Ruscha and Venturi Scott Brown, 1962–1977
Actions:
Description:
Learning from… Ruscha and Venturi Scott Brown, 1962–1977 examines the relationship between the seminal illustrated books by artist Edward Ruscha and architects Robert Venturi and Denise Scott Brown that deal with the architecture and urbanism of the everyday in Los Angeles and Las Vegas during the 1960s and 1970s. Ruscha’s Every Building on the Sunset Strip and Venturi(...)
Learning from… Ruscha and Venturi Scott Brown, 1962–1977
Actions:
Description:
Learning from… Ruscha and Venturi Scott Brown, 1962–1977 examines the relationship between the seminal illustrated books by artist Edward Ruscha and architects Robert Venturi and Denise Scott Brown that deal with the architecture and urbanism of the everyday in Los Angeles and Las Vegas during the 1960s and 1970s. Ruscha’s Every Building on the Sunset Strip and Venturi(...)
Form:
exhibitions
exhibitions
Date:
31 March 2004 to
30 May 2004
31 March 2004 to
30 May 2004
Location:
Octagonal gallery
Octagonal gallery
Form:
exhibitions
exhibitions
Title:
Seagram Plaza
Seagram Plaza
Actions:
Description:
The plaza at the Seagram Building in New York, designed by Ludwig Mies van der Rohe and completed in 1958, was a litmus test of what an open space in the city could be. Raised three steps above the sidewalk along Park Avenue, the plaza is an oasis of calm, distant from the commotion and turbulence of the street. The way in which the plaza has been adopted by New Yorkers(...)
The plaza at the Seagram Building in New York, designed by Ludwig Mies van der Rohe and completed in 1958, was a litmus test of what an open space in the city could be. Raised three steps above the sidewalk along Park Avenue, the plaza is an oasis of calm, distant from the commotion and turbulence of the street. The way in which the plaza has been adopted by New Yorkers(...)
Location:
Hall cases
Hall cases
Date:
1 May 2013 to 18 August 2013
1 May 2013 to 18 August 2013
Title:
Seagram Plaza
Actions:
Description:
The plaza at the Seagram Building in New York, designed by Ludwig Mies van der Rohe and completed in 1958, was a litmus test of what an open space in the city could be. Raised three steps above the sidewalk along Park Avenue, the plaza is an oasis of calm, distant from the commotion and turbulence of the street. The way in which the plaza has been adopted by New Yorkers(...)
Seagram Plaza
Actions:
Description:
The plaza at the Seagram Building in New York, designed by Ludwig Mies van der Rohe and completed in 1958, was a litmus test of what an open space in the city could be. Raised three steps above the sidewalk along Park Avenue, the plaza is an oasis of calm, distant from the commotion and turbulence of the street. The way in which the plaza has been adopted by New Yorkers(...)
Form:
exhibitions
exhibitions
Date:
1 May 2013 to
18 August 2013
1 May 2013 to
18 August 2013
Location:
Hall cases
Hall cases
Form:
exhibitions
exhibitions
Actions:
Description:
Wohnhaus Schlesisches Tor—also known as Bonjour Tristesse—in Berlin and Punt en Komma in The Hague are Álvaro Siza’s first built works outside his native Portugal. The two projects resemble one another in size, scale, program, and ambition: both were built in the 1980s, both are results of a distinct attitude towards the city, and both were social housing projects(...)
Wohnhaus Schlesisches Tor—also known as Bonjour Tristesse—in Berlin and Punt en Komma in The Hague are Álvaro Siza’s first built works outside his native Portugal. The two projects resemble one another in size, scale, program, and ambition: both were built in the 1980s, both are results of a distinct attitude towards the city, and both were social housing projects(...)
Location:
Octagonal gallery Keyword(s):
Álvaro Siza, Punt en Komma, The Hague, Bonjour Tristesse, Berlin
Octagonal gallery Keyword(s):
Álvaro Siza, Punt en Komma, The Hague, Bonjour Tristesse, Berlin
Date:
24 September 2015 to 22 May 2016
24 September 2015 to 22 May 2016
Title:
Corner, Block, Neighbourhood, Cities. Álvaro Siza in Berlin and The Hague
Actions:
Description:
Wohnhaus Schlesisches Tor—also known as Bonjour Tristesse—in Berlin and Punt en Komma in The Hague are Álvaro Siza’s first built works outside his native Portugal. The two projects resemble one another in size, scale, program, and ambition: both were built in the 1980s, both are results of a distinct attitude towards the city, and both were social housing projects(...)
Corner, Block, Neighbourhood, Cities. Álvaro Siza in Berlin and The Hague
Actions:
Description:
Wohnhaus Schlesisches Tor—also known as Bonjour Tristesse—in Berlin and Punt en Komma in The Hague are Álvaro Siza’s first built works outside his native Portugal. The two projects resemble one another in size, scale, program, and ambition: both were built in the 1980s, both are results of a distinct attitude towards the city, and both were social housing projects(...)
Form:
exhibitions
exhibitions
Date:
24 September 2015 to
22 May 2016
24 September 2015 to
22 May 2016
Location:
Octagonal gallery Keyword(s):
Álvaro Siza, Punt en Komma, The Hague, Bonjour Tristesse, Berlin
Octagonal gallery Keyword(s):
Álvaro Siza, Punt en Komma, The Hague, Bonjour Tristesse, Berlin
Form:
textual records
textual records
Actions:
Reference number:
AP075.S3.SS1.019
Description:
Contains typescript text for the following lectures by Cornelia Hahn Oberlander: - The Magic of Sand - Indoors and Out - Planning for Play Everywhere. Play in Hospitals, 1984. - Landscape Architecture in the 20th Century: The Relationship of Architecture and - Landscape Architecture. Museum of Modern Art October 21-22. - Lecture given at the Vancouver Art Gallery, 1954. - The TVA as creator of a Regional Landscape. - Greening the City. University of Texas. November 18, 1994. - The Garden in My Life and My Work. Western Washington University. June 14, 1988. - Nature in the City: or, the City in Nature. Architecture and Urban Studies Alliance, Calgary, Alberta. February 11, 1987. - Address to the Graduating Classes in Agrcultural Sciences, Applied Science, Architecture, Landscape Architecture, Community and Regional Planning, Forestry, - Interdisciplinary Studies. The University of British Columbia. May 29, 1991. - The Garden as Art. Van Dusen Botanical Garden. October 2, 1990. - Landscapes that Shaped Vancouver. The Society of Architectural Historians. October 13, 2000. - Breaking Ground. Smith College. March 26, 2001. - Green Spaces: Inspiring Landscapes by Women - Landscape Architecture in the Next Millenium. Hotel Vancouver. March 29, 1999. - Landscape Architecture: Bridge Between Buliding and Nature. Toronto, ON. November 26, 1999. - Limiting Footprints: An Ecological Approach to Landscape Architecture. Harvard University. March 27, 2001. - Leadership in Landscape: Sustainable Development Directions for the Future. Smith College. March 18, 1998. - Linking Places to Design: An Ecological Approach. Alaska Design Forum Lecture. April 1999. - Limiting Footprints: An Ecological Approach to Landscape Architecture. February 22, 2001. - The Meanings of Gardens… Transformed. University of Virginia. March 23, 2001. - Landscape Architecture North of the Arctic Circle. University of Massachusetts, Amherst. March 26, 2007. - Landscape Architecture Aesthetics and Sustainability. Palm Springs, CA. March 15, 2008. - Limiting Footprints: Low Impact Technologies. University of Arkansas. February 20, 2005. - Conservation of 20th Century Canadian Landscapes. ASLA CSLA Montreal. September 22, 2001. - Government Complex of the Province of British Columbia, Vancouver, BC: Changes of a City. October 11, 1979. - Heritage of Green Spaces: Robson Square. Vancouver Heritage Foundation. April 21, 2010. - Where Architecture Meets the Trees. Smith College. February 29, 1992. - Green Roofs and Sustainable Development: Ideas into Action. McGill University. October 21, 2005.
AP075.S3.SS1.019
Description:
Contains typescript text for the following lectures by Cornelia Hahn Oberlander: - The Magic of Sand - Indoors and Out - Planning for Play Everywhere. Play in Hospitals, 1984. - Landscape Architecture in the 20th Century: The Relationship of Architecture and - Landscape Architecture. Museum of Modern Art October 21-22. - Lecture given at the Vancouver Art Gallery, 1954. - The TVA as creator of a Regional Landscape. - Greening the City. University of Texas. November 18, 1994. - The Garden in My Life and My Work. Western Washington University. June 14, 1988. - Nature in the City: or, the City in Nature. Architecture and Urban Studies Alliance, Calgary, Alberta. February 11, 1987. - Address to the Graduating Classes in Agrcultural Sciences, Applied Science, Architecture, Landscape Architecture, Community and Regional Planning, Forestry, - Interdisciplinary Studies. The University of British Columbia. May 29, 1991. - The Garden as Art. Van Dusen Botanical Garden. October 2, 1990. - Landscapes that Shaped Vancouver. The Society of Architectural Historians. October 13, 2000. - Breaking Ground. Smith College. March 26, 2001. - Green Spaces: Inspiring Landscapes by Women - Landscape Architecture in the Next Millenium. Hotel Vancouver. March 29, 1999. - Landscape Architecture: Bridge Between Buliding and Nature. Toronto, ON. November 26, 1999. - Limiting Footprints: An Ecological Approach to Landscape Architecture. Harvard University. March 27, 2001. - Leadership in Landscape: Sustainable Development Directions for the Future. Smith College. March 18, 1998. - Linking Places to Design: An Ecological Approach. Alaska Design Forum Lecture. April 1999. - Limiting Footprints: An Ecological Approach to Landscape Architecture. February 22, 2001. - The Meanings of Gardens… Transformed. University of Virginia. March 23, 2001. - Landscape Architecture North of the Arctic Circle. University of Massachusetts, Amherst. March 26, 2007. - Landscape Architecture Aesthetics and Sustainability. Palm Springs, CA. March 15, 2008. - Limiting Footprints: Low Impact Technologies. University of Arkansas. February 20, 2005. - Conservation of 20th Century Canadian Landscapes. ASLA CSLA Montreal. September 22, 2001. - Government Complex of the Province of British Columbia, Vancouver, BC: Changes of a City. October 11, 1979. - Heritage of Green Spaces: Robson Square. Vancouver Heritage Foundation. April 21, 2010. - Where Architecture Meets the Trees. Smith College. February 29, 1992. - Green Roofs and Sustainable Development: Ideas into Action. McGill University. October 21, 2005.
People:
Date:
1954-2010
1954-2010
Title:
Texts of Cornelia Hahn Oberlander for various lectures
Actions:
AP075.S3.SS1.019
Description:
Contains typescript text for the following lectures by Cornelia Hahn Oberlander: - The Magic of Sand - Indoors and Out - Planning for Play Everywhere. Play in Hospitals, 1984. - Landscape Architecture in the 20th Century: The Relationship of Architecture and - Landscape Architecture. Museum of Modern Art October 21-22. - Lecture given at the Vancouver Art Gallery, 1954. - The TVA as creator of a Regional Landscape. - Greening the City. University of Texas. November 18, 1994. - The Garden in My Life and My Work. Western Washington University. June 14, 1988. - Nature in the City: or, the City in Nature. Architecture and Urban Studies Alliance, Calgary, Alberta. February 11, 1987. - Address to the Graduating Classes in Agrcultural Sciences, Applied Science, Architecture, Landscape Architecture, Community and Regional Planning, Forestry, - Interdisciplinary Studies. The University of British Columbia. May 29, 1991. - The Garden as Art. Van Dusen Botanical Garden. October 2, 1990. - Landscapes that Shaped Vancouver. The Society of Architectural Historians. October 13, 2000. - Breaking Ground. Smith College. March 26, 2001. - Green Spaces: Inspiring Landscapes by Women - Landscape Architecture in the Next Millenium. Hotel Vancouver. March 29, 1999. - Landscape Architecture: Bridge Between Buliding and Nature. Toronto, ON. November 26, 1999. - Limiting Footprints: An Ecological Approach to Landscape Architecture. Harvard University. March 27, 2001. - Leadership in Landscape: Sustainable Development Directions for the Future. Smith College. March 18, 1998. - Linking Places to Design: An Ecological Approach. Alaska Design Forum Lecture. April 1999. - Limiting Footprints: An Ecological Approach to Landscape Architecture. February 22, 2001. - The Meanings of Gardens… Transformed. University of Virginia. March 23, 2001. - Landscape Architecture North of the Arctic Circle. University of Massachusetts, Amherst. March 26, 2007. - Landscape Architecture Aesthetics and Sustainability. Palm Springs, CA. March 15, 2008. - Limiting Footprints: Low Impact Technologies. University of Arkansas. February 20, 2005. - Conservation of 20th Century Canadian Landscapes. ASLA CSLA Montreal. September 22, 2001. - Government Complex of the Province of British Columbia, Vancouver, BC: Changes of a City. October 11, 1979. - Heritage of Green Spaces: Robson Square. Vancouver Heritage Foundation. April 21, 2010. - Where Architecture Meets the Trees. Smith College. February 29, 1992. - Green Roofs and Sustainable Development: Ideas into Action. McGill University. October 21, 2005.
Texts of Cornelia Hahn Oberlander for various lectures
Actions:
AP075.S3.SS1.019
Description:
Contains typescript text for the following lectures by Cornelia Hahn Oberlander: - The Magic of Sand - Indoors and Out - Planning for Play Everywhere. Play in Hospitals, 1984. - Landscape Architecture in the 20th Century: The Relationship of Architecture and - Landscape Architecture. Museum of Modern Art October 21-22. - Lecture given at the Vancouver Art Gallery, 1954. - The TVA as creator of a Regional Landscape. - Greening the City. University of Texas. November 18, 1994. - The Garden in My Life and My Work. Western Washington University. June 14, 1988. - Nature in the City: or, the City in Nature. Architecture and Urban Studies Alliance, Calgary, Alberta. February 11, 1987. - Address to the Graduating Classes in Agrcultural Sciences, Applied Science, Architecture, Landscape Architecture, Community and Regional Planning, Forestry, - Interdisciplinary Studies. The University of British Columbia. May 29, 1991. - The Garden as Art. Van Dusen Botanical Garden. October 2, 1990. - Landscapes that Shaped Vancouver. The Society of Architectural Historians. October 13, 2000. - Breaking Ground. Smith College. March 26, 2001. - Green Spaces: Inspiring Landscapes by Women - Landscape Architecture in the Next Millenium. Hotel Vancouver. March 29, 1999. - Landscape Architecture: Bridge Between Buliding and Nature. Toronto, ON. November 26, 1999. - Limiting Footprints: An Ecological Approach to Landscape Architecture. Harvard University. March 27, 2001. - Leadership in Landscape: Sustainable Development Directions for the Future. Smith College. March 18, 1998. - Linking Places to Design: An Ecological Approach. Alaska Design Forum Lecture. April 1999. - Limiting Footprints: An Ecological Approach to Landscape Architecture. February 22, 2001. - The Meanings of Gardens… Transformed. University of Virginia. March 23, 2001. - Landscape Architecture North of the Arctic Circle. University of Massachusetts, Amherst. March 26, 2007. - Landscape Architecture Aesthetics and Sustainability. Palm Springs, CA. March 15, 2008. - Limiting Footprints: Low Impact Technologies. University of Arkansas. February 20, 2005. - Conservation of 20th Century Canadian Landscapes. ASLA CSLA Montreal. September 22, 2001. - Government Complex of the Province of British Columbia, Vancouver, BC: Changes of a City. October 11, 1979. - Heritage of Green Spaces: Robson Square. Vancouver Heritage Foundation. April 21, 2010. - Where Architecture Meets the Trees. Smith College. February 29, 1992. - Green Roofs and Sustainable Development: Ideas into Action. McGill University. October 21, 2005.
Form:
textual records
textual records
Date:
1954-2010
1954-2010
People:
